{"id":2508,"date":"2023-03-26T22:28:18","date_gmt":"2023-03-27T02:28:18","guid":{"rendered":"https:\/\/www.artsjournal.com\/uq\/?p=2508"},"modified":"2023-03-26T22:28:21","modified_gmt":"2023-03-27T02:28:21","slug":"dvoraks-prophecy-at-princeton-april-12-with-john-mcwhorter-allen-guelzo-and-sidney-outlaw","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/uq\/2023\/03\/dvoraks-prophecy-at-princeton-april-12-with-john-mcwhorter-allen-guelzo-and-sidney-outlaw.html","title":{"rendered":"“Dvorak’s Prophecy” at Princeton April 12 with John McWhorter, Allen Guelzo, and Sidney Outlaw"},"content":{"rendered":"
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\u201cDvorak\u2019s Prophecy and the Vexed Fate of Black Classical Music<\/em><\/strong>\u201d <\/a>is the topic of an April 12 concert\/lecture at Princeton University. I\u2019ll be joined by cultural critic John McWhorter of the\u00a0New York Times<\/em>, Princeton historian Allen Guelzo, and baritone Sidney Outlaw \u2013 with whom I\u2019ll perform spirituals and songs by Harry Burleigh. It\u2019s free of charge and you don’t have to register. The venue is Nassau Presbyterian Church. The presenters are the Department of Music and the James Madison Program. We start at 7 pm.<\/p>\n\n\n\n

McWhorter \u2013 who knows music and is a regular contributor to my\u00a0\u201cMore than Mu<\/a>sic\u201d<\/strong>\u00a0programs on NPR \u2013 will address the significance of George Gershwin and the place of Black classical music. Guelzo \u2013 who knows music and is an occasional contributor to \u201cMore than Music\u201d \u2013 will address the significance of Charles Ives, both with reference to the Civil War and the American cultural pantheon generally. Outlaw \u2013 a magnificent concert singer with roots in the Black church \u2013 will address African-American vocal composers now being rediscovered.<\/p>\n\n\n\n

A special focus of attention will be Harry Burleigh\u2019s \u201cLovely Dark and Lonely One\u201d (1935), setting Langston Hughes. it\u2019s one of the most memorable concert songs ever composed by an American. Turning Hughes\u2019 poem upside down, it counsels faith and forebearance. Burleigh\u2019s valedictory, it places him in a lineage with Roland Hayes and Marian Anderson, both of whom he mentored. <\/p>\n\n\n\n

I will also have a piece on Burleigh in the April 1 Wall<\/em> Street Journal<\/em>, in which I write: <\/p>\n\n\n\n

\u201cBurleigh intended ‘Lovely Dark and Lonely One’ for Marian Anderson, whose renditions of\u00a0Burleigh\u2019s \u2018Deep River\u2019<\/a><\/strong>were indelibly her own. But Anderson chose not to sing ‘Lovely Dark and Lonely One.’ It is in fact a song personal to Harry Burleigh. It also happens to be Burleigh\u2019s final concert song. If he therefore quit at the peak of his creative powers, his truncated odyssey bears comparison to other, more famous casualties of modernism: Charles Ives, Edward Elgar, Manuel de Falla, and Jean Sibelius, all of whom stopped composing when they discovered themselves aesthetically estranged after World War I.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cDvorak\u2019s Prophecy and the Vexed Fate of Black Classical Music\u201d is the topic of an April 12 concert\/lecture at Princeton University. I\u2019ll be joined by cultural critic John McWhorter of the\u00a0New York Times, Princeton historian Allen Guelzo, and baritone Sidney Outlaw \u2013 with whom I\u2019ll perform spirituals and songs by Harry Burleigh. It\u2019s free of […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":{"0":"post-2508","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry","8":"has-post-thumbnail"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p2QLHN-Es","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/2508","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/comments?post=2508"}],"version-history":[{"count":3,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/2508\/revisions"}],"predecessor-version":[{"id":2512,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/2508\/revisions\/2512"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/media?parent=2508"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/categories?post=2508"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/tags?post=2508"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}